As we view the world through a new prism post the Corona pandemic what will be the impact on the fashion world?  We were already living in an era defined by growing concerns about global warming, over-consumption and the destructive impact of capitalism, but the impact of the Covid-19 virus will dwarf all these concerns in its immediate aftermath. Vogue Business reported that Covid-19 could cause a $40 billion decline in luxury sales for 2020, with a loss of up to $10 billion in profits and little chance of a return to normal trading conditions. How will the fashion world evolve and survive? 

At the end of 2019 Mary Portas, the retail guru with extensive experience of all levels of retail from the charity sector to luxury department stores, summarised the crisis of over consumption in the fashion industry when she stated: “What we’ve come to realise is that the tenets of  capitalism, that ‘more is better’ is not going to be better for us as people, or for our planet.”  Covid-19 has brought this truth home in a very stark manner and emphasised how man’s destruction of natural habitats has facilitated the movement of diseases from animals to humans with chilling implications for people and economies.  
 
With a growing backlash against fast fashion, the rise of recycling, upcycling and second-hand the consumer culture of the 20th century fashion was already slowly changing and evolving. Covid-19 will accelerate the disenchantment with consumerism which will hopefully, (as Portas believes), be replaced by the “Kindness Economy”  one based on values such as care, respect, compassion and understanding. Instead of the stark bottom line of yore which was solely based on profit, there will be a triple bottom line which includes people, planet and profit. Companies pivoting their manufacturing focus in the current crisis such as LVMH, L’Oreal and Prada making hand sanitiser and medical masks may become the blueprint for a new more altruistic version of fashion.   

​As humanity contemplates their own fragility, the mass extinction of numerous species and the destructions of natural habitats, fashion has moved very low in our priorities. Will it ever be able to recover? Will any of us have disposable income to spend on clothing for the foreseeable future with a severe despression/recession predicted? Observing the damage that fashion was doing to the environment through water and air pollution and harmful emissions that accelerated global warming, most people had already acknowledged that Fashion had “Fucked Up.” The question is can it change adequately to redeem itself in the next decade and post Covid-19, will we care? 
 
The excessive carbon footprint of fashion is undeniable – companies with foresight realised that sustainability needed to become a vital element of their strategy before the pandemic. A growing anti-fashion sentiment was articulated by movements like Extinction Rebellion, who targeted London Fashion Week as new clothes were re-classified as less than cool - a major problem for brands who traditionally used newness as the seasonal driver of sales.  Fast fashion was already an outdated model and fashion forecaster Geraldine Wharry identified that “Brands without some kind of sustainability strategy are in trouble.” Covid-19 has temporarily put considerations about sustainability aside but after the disease recedes, consumers will be more focused on the environment than ever.

Fashion for the past 20 years was an industry where supply exceeded demand culminating in multiple sales per annum,  a growing cohort of discount retailers and tons of discarded textiles. The popularity of Marie Kondo’s philosophy of de-cluttering was the clearest indicator of the level of fashion fatigue amongst consumers. There was too much stuff, consumers were feeling overwhelmed and had already started to reject fashion’s waste and excess. But where now post the pandemic?     

The fashion industry will need to evolve to meet the challenge of selling to a world with a different perspective on consuming clothing after Covid-19. Before this crisis there was already a  shift in sentiment reflected by major brands re-defining how they did business in anticipation of the “greening” of consumers. Retailers diversifying and adapting to meet consumer concerns included Net A Porter’s new Net Sustain platform selling sustainable fashion brands, Arket and Cos selling recycled cashmere and promoting organic cotton and Zara announcing they would use exclusively sustainable fabrics by 2025. With the new moral landscape will these gestures be enough or considered mere window-dressing? 

Pre Covid-19, 83% of consumers said they would pick a brand with a better sustainability record and 70% stated they were willing to pay more for products and services that helped protect the environment or that didn’t infringe human rights. Ethics will dominate as a major consideration when shopping post the pandemic and an emphasis on bio-degradable, compostable, cruelty free and made from recycled materials will flourish. Cruelty free beauty products,  recycled packaging, fair wages and safe working conditions will be as important to consumers as trends, styles and price-points. John Galliano defined the new mood succinctly when he recently told Elle France: “Today we don’t want a product, we want ethics, a firm that defends the values we admire.” 

Other industry trends including the rise of virtual collections that will offer consumers the opportunity to create a digital avatar who will buy virtual clothes to be worn online instead of in real life. Such innovations will satisfy humans’ desire for newness without the destructive impact of conventional fashion production. New Irish company Skmmp is already operating a virtual showroom model to offer fashion companies a solution to how they operate without a digital wholesale sales strategy and have received a major boost from the Corona crisis. Another potential development will be the rise of 3D printing and scanning to allow customers to create clothes in their own homes, specific to their own design amendments and measurements. This is symbolic of how the power structure of fashion has shifted in the past decade with the power gradually moving from designers, brands and fashion editors to the consumer. (See how innovative individuals have made visors and masks for health care workers, at home on 3D printers as an example).

Finally with the growing fusion of fashion and tech, there may also be a parallel revival of interest in craft and hand-made garments. In the past few years there has been a burgeoning appetite for customisation and craft techniques including embroidery, hand knits, naturally dyed  and printed fabrics and hand-embellishment. Jonathan Saunders at Loewe and Sarah Burton at McQueen have both championed craft techniques and skills as opposed to machine made as an antidote to mass manufacturing and its destructive impact. Things made by human hands will be increasingly desirable. According to industry veteran and trend forecaster supreme, Li Edelkoort, the world will change because people will suddenly realise what is truly valuable in life: from a feeling of greater common humanity to a burgeoning appreciation for slower, artisanal craft. 

Will we still be consuming fashion post the pandemic? I think yes but in a modified way. The model of consumption will continue to evolve and change – renting, borrowing, re-selling and virtual fashion will allow us to feed our desire for variety and newness via channels other than traditional shopping. Ownership won’t be of major concern as experiential fashion will triumph over acquisition and luxury will be defined by purpose and ethics rather than exclusivity and expense.  Fashion will remain a form of expression and escapism but it’s model of business will evolve to transform how we consume and celebrate clothing. People will be happier with less as the experience of the pandemic will shift people’s focus from consumption to conservation. Today, on World Earth Day, let us hope that the lessons learned during this pandemic won't be discarded with the face masks. 

If there is one word that is synonymous with luxury, it is cashmere.  This precious fibre, which is soft, cocooning and tactile makes the winter climate bearable but isn't just an autumn winter staple. It is something that we can wear year-round in Ireland, thanks to our erratic climate. Cashmere is perfect to transition between seasons. It has been called the “Noble Fibre” and we can appreciate why: not only does cashmere have long associations with royalty, it also makes the wearer feel like a Queen.
 
Cashmere is named after the Kashmir region of India and Pakistan, where it has been manufactured for thousands of years. It first enjoyed popularity in Europe in the 18th/early 19th century in the form of Kashmir shawls, which were coveted intensely by fashionable Parisian women.  Cashmere is obtained from the goat, (Capra hiricus laniger) whose coat is technically defined as wool, but is finer, stronger, lighter and softer than sheep’s wool as well as three times more insulating. These qualities have ensured that cashmere has always been coveted as a luxury fibre that not only delivers supreme softness but also excellent warmth and comfort.







 
What gives real cashmere its softness? Simply, it’s the fibres’ extremely fine diameter ― less than 18.5 microns but also the shape of the fibres themselves. Cashmere isn’t a straight fibre, it’s bumpy and these bumpy fibres all cling to themselves so nothing sticks out to itch you. Straight fibres like wool can protrude and cause irritation, while cashmere simply caresses you.  
Cashmere goats produce a double fleece that is made up of a fine, soft under-coat or under-down of hair mixed with a straighter and coarser outer coat of hair known as guard hair. For the fine under-coat to be used for cashmere garments it must first be de-haired, usually by a mechanical process that separates the coarse hairs from their finer counterparts. Only after this sorting is the finer cashmere ready to be dyed and made into garments or yarn. Cashmere is collected during the spring moulting season (March to May) when the goats naturally shed their winter coats. China is now the largest global producer of raw cashmere with Mongolia, Afghanistan, Iran, Turkey and Kyrgzstan also significant producers.
 
A single cashmere goat does not yield a lot of hair, perhaps between six and eight ounces, but once it’s processed this may be as little as four ounces. So, it can take approximately four goats to make one sweater. Put simply, it is a very finite resource. Like diamonds, gemstones or gold, it is rare and is therefore priced accordingly, and that’s why pure cashmere is expensive.
 
Once harvested, the pure cashmere can be dyed and spun into yarns and knitted into jumpers, hats, gloves, scarves, socks or woven into fabric and made into items such as coats, jackets, trousers and blankets. It has long been considered that the best cashmere is manufactured in Scotland and Italy, where heritage companies with established expertise and skilled design pedigree, make the most beautiful cashmere.

When shopping for cashmere, take note of the following:

1. Ply: A high ply means a weightier feel to the garment and makes it more expensive.  Ply refers to the number of strands twisted together to achieve a certain thickness. Most cashmere comes in 1 ply or 2 ply strands of yarn, which is then knitted into various garments.
2. Thickness v's Thinness: The thickness of a knit doesn’t affect the quality of the cashmere. You can have a thick sweater in one ply that is cheaper than a thin knitted sweater in two-ply. Sometimes very fine garments are woven with silk, so check the composition to gauge if it’s 100% cashmere. Pashminas are always woven with around 30% silk, which makes their weave stronger.
3. Colour:  Cashmere can be dyed in virtually any colour but the darkest colours are generally harder dyes, or have been dyed twice to get a very dark shade. These garments may not feel as soft as lighter hued pieces. This is the reason that cashmere is very often made in soft neutral tones of grey, camel, ivory and taupe.

Warning: cashmere is addictive - once a woman discovers its caress, she is ruined for humbler fibres. In Mongolia the cashmere merchants observe that, cashmere is like gold or opium: once sampled, a customer never forgets. Nothing is as cossetting, calming and indulgent as pure cashmere – it envelops the wearer like a knitted hug and not only adds to their physical warmth, but also their sense of calm and well-being. Buying a cashmere knit is the ultimate act of self-care and self-love. 

If you love your cashmere, then it will love you back. Good quality cashmere can last a decade with appropriate TLC and caring for cashmere isn’t as difficult as people perceive. After wearing a new cashmere garment the first few times you may see small balls of fibre forming on the surface. These “pills” are caused by some of the loose fibre tangling together as areas of the garment are rubbed during wear. Pills can be removed by hand or by gently using a de-pilling knitwear comb. If you lavish care and attention on your cashmere, remove the pills and launder carefully, the garment will consolidate and soften in handle and touch. Like fine wine and good women, cashmere will improve with age if cared for properly.

Ideally cashmere should be gently washed after it has been worn a few times.  It can be hand-washed, sometimes machine-washed on a knitwear cycle or dry cleaned. When hand washing, follow these steps:

1. The cashmere knit should be hand washed in lukewarm water using a specific cashmere shampoo or a mild detergent. Wool and natural fibre detergents are available widely. Woolmark-approved own brand products are good as are Woolite and Ecover Wool Wash.
   
2. Gently massage the suds through the knit, being careful not to rub, wring or stretch the garment.
3. Rinse thoroughly but carefully in clean lukewarm water. Saturated garments should not be lifted before water has been gently squeezed out as they may stretch.  We recommend a quick, light spin in a washing machine to remove excess water.
4. Smooth the garment back into its original shape and place flat on a towel - dry naturally away from direct heat such as radiators or sunlight. Never tumble dry.
   
5. Once dry, press lightly with a cool iron.
   

 
If a cashmere has a machine wash symbol, follow these guidelines:

1. Wash on a wool program, using a non-bio detergent at a maximum spin speed of 600 rpm. Many biological detergents contain wool-eating enzymes. Never use them or stain removers on wool, silk or cashmere fibres because the enzymes will literally digest the fabric.
2. To increase the life-span of cashmere, use a slow spin (600 rpm or less) and a low temperature (20° max.) to avoid stretching, shrinking and matting of the fibres.
3. To dry safely, avoid direct heat. Cashmere should be reshaped and allowed to dry naturally. Keep it supported to maintain shape, simply lay flat, ensuring you rotate it.
4. Once dry, press lightly with a cool iron.

 
Due to cashmere’s delicate nature, it is also best to exert caution and avoid rubbing from handbags, belts and jewellery and to be mindful of sharp abrasive surfaces when wearing it.                              
 To store cashmere:

1. To ensure that knits keep their beauty never store on a hanger. You risk creating permanent indentations on the shoulders and its weight could make it stretch. To avoid damage, fold the knit into three parts lengthwise, keeping the arms straight and smooth, and finally fold it in half. If cashmere is to be stored for a long period, tuck some tissue paper or a piece of fabric between the folded garment to avoid creases.
2. During summer season: keep it in a sealed fabric garment bag (old pillow cases are ideal) and use cedar balls or lavender to dissuade moths from munching down on your precious pieces.
3. Always store away cashmere freshly laundered – moths prefer soiled or stained knits.

 
It is hard to find a genuine lover of style who doesn’t cherish her cashmere collection. There is something very intimate about the fibre – it comforts us, by re-assuring us that its feather-light caress will always deliver luxury and style. There is now cashmere at every price point but for quality and longevity, buy the best that you can afford. Cashmere is enduringly chic, goes with everything from ripped jeans to a sleek pencil skirt, delivers warmth without bulk and is the perfect option to dress up virtually everything. It is impossible to look bad in cashmere as its indulgent softness leads to a happy glow.

And as Coco Chanel observed: “Luxury must be comfortable, otherwise it is not luxury.”

A recent dry cleaning disaster made me ask myself how frequently dry cleaning problems such as broken buttons, shrunken garments and colour loss occur, and why so many garments are now labeled “Dry Clean Only”? According to The New York Times, Proctor and Gamble found in 2008, that 65% of clothing that was being dry-cleaned was machine-washable. Having worked in fashion, I am cynical about the labeling of garments and often hand wash items including cashmere knits and silk blouses, that are labeled Dry Clean Only. Certain obvious exceptions to my denial of stated instructions, include tailored items, leathers, suede and beaded garments. Am I dicing with disaster?
 
Dry cleaning has been used to maintain clothing since the Roman era. In its modern incarnation, it is based on cleaning clothes and textiles with chemical solvents, usually tetrachloroethylene, referred to as Perc, adopted due to its excellent cleaning properties, low cost and non-flammable nature. The term dry cleaning is a misnomer as garments do get wet, even though the cleaning solvent isn’t water based. Since the recession, many people are more prudent about spending and dry cleaning is a luxury that has been cut back by thrifty households. Does this short-term saving have long-term implications for our wardrobes? Or is author India Knight right when she writes in her book, Thrift that “dry cleaning is mostly a myth and an exorbitant myth at that”?
 
William Barry of Barry’s Dry Cleaners in Greystones and Wicklow admits that: “Manufacturers seem to think that by putting a Dry Clean Only Label on the garment, that it is the safest thing to do. Many garments carrying Dry Clean Only labels can be successfully hand washed with care.  Wool, silk and even cashmere can be washed if you are careful with them. Reshape and dry flat. Avoid washing some man-made fabrics such as viscose and rayon and never wash a structured garment i.e. a suit jacket.” He is adamant about the benefits of professional dry cleaning: “A professional dry cleaner will know just by looking at a garment which process has to be carried out. From safe stain removal to cleaning the garment and just as important the shaping and finishing of the garment.”  He advises that keeping clothes clean prolongs their lifespan: “If (a soiled garment) is put away with a stain containing sugar for example the stain can oxidize and become quite difficult to remove.”
 
Brigid Hoey of Craft Cleaners, (an expert dry cleaner in Dublin) disagrees that washing is ok for certain dry clean only garments. She explains: “Dry cleaning prolongs the life of the garment, and we emphasise that customers seek out 'professional' dry cleaners only.” She continues: “for stain-removal dry cleaning is far superior to washing. There is a lesser risk of shrinkage in dry cleaning than in washing (by either machine or hand).  Garments may not withstand washing over many years, but will retain their original look and feel through dry cleaning.”
 
 If even the experts differ, it’s not surprising there is consumer confusion around dry cleaning. Europe has no mandatory requirements for care labeling – a voluntary code encourages the clothing industry to use the International Organisation for Standardisation’s symbols. There is a suspicion that manufacturers may put dry clean only instructions on some garments unnecessarily, (a) to avoid the expense of testing them (b) to ensure that the items are cleaned professionally to decrease the risk of domestic laundry disasters and (c) because they can list no more than one cleaning method and can be held liable if an item is damaged when the customer follows the stated procedure. Strictly, dry clean only labeling, should only be used when cleaning with water will cause shrinkage, colour-change or loss of garment shape. For cleaners as well as consumers, inaccurate care labeling is frustrating i.e. if the wrong solvent is nominated on a label or a delicate trim not suitable for dry cleaning is attached to a dry clean only garment.

Apart from the expense of dry cleaning, some are wary of the environmental impact of Perc on the atmosphere and on human welfare. Perc was the first chemical to be classified as carcinogenic in the USA by the EPA and must be handled as hazardous waste there. In fairness, dry cleaning machines in the West don’t dispel emissions into the atmosphere because their exhausts are enclosed and sensors also monitor when all the Perc has been removed from garments. Despite this a study by Georgetown University showed that some Perc is retained in dry cleaned clothes and that levels of the solvent increase with repeat cleaning. The dry-cleaning industry asserts that 99.9% of all Perc is removed from garments but sustained exposure to high levels of Perc has serious health complications. The French government has introduced a law banning the use of Perc at dry cleaning establishments that are close to occupied buildings. The ban comes into full force in 2020 and follows a similar law passed in Denmark.
 
 There are two greener alternatives to Perc-based cleaning: wet cleaning uses water, along with computer-controlled washers and dryers, specialised detergents that are milder than domestic detergents, and professional pressing and finishing equipment. Its benefits include no hazardous chemical use, no hazardous waste generation, no air pollution and reduced potential for water and soil contamination. Carbon dioxide (CO2) cleaning uses non-toxic, liquid CO as the cleaning solvent, along with detergent. The CO2 is captured as a by-product of existing industrial processes, thereby using emissions that would otherwise be released into the atmosphere. Its impact on global warming is minimal and CO2 cleaning also uses less energy than traditional dry cleaning. Currently Green cleaning is offered by Barry’s Dry Cleaners and Bee Clean who have branches in the west of Ireland. Rita Langan of Bee Clean says that they use specially formulated biodegradable detergents and that clothing is cleaned in washers that limit water absorption and monitor both agitation and temperature. After being totally dried, garments are formed on specialized equipment and custom hand finished. She claims that the results are impressive with soft fresh, colour true clothes that have no chemical odour. 
 
Although most dry cleaners are reputable and provide a professional service, it is the occasional bad experience of a poorly cleaned or even damaged garment that lingers in the aggrieved customer’s memory. If a dry cleaner does damage your garment and won’t accept responsibility it can be a frustrating and expensive experience. Brigid Hoey advises: “Discuss the problem with your dry cleaner. If the problem occurs, as the result of a manufacturing flaw, etc. return the garment to the place of purchase accompanied by a report from the dry cleaner.”
 
William Barry suggests: “If it is established between the dry cleaner and the client that the dry cleaner has damaged a garment then it is a no-brainer that they should discuss compensation. The client, should also take into account depreciation, when settling on a figure.  If the dry cleaner refuses then it’s off to the Small Claims Court.”

Since turning 50 at the end of 2017, I have been reflecting on this landmark age. Gone are the days when 50 was associated with cauliflower perms, varicose veins and bingo. Women over 50 today are juggling myriad accomplishments, responsibilities and interests with dexterity. What exactly does the term middle-aged mean anymore? Isn’t it simply obsolete? A report recently published by J. Walter Thompson Intelligence, London titled the” Elastic Generation”, has found that “Women in their 50s, 60s and early 70s are active, engaged and involved. Pillars of family, community and society, nothing they do is motivated by their age.”
                    
As a newly minted 50, I don't feel sad but grateful, for my enduring good health, energy and curiosity. In this, I am no different to most women of 50 plus, who are ageing in a way that is re-defining the term “middle-aged”.  We are the ageless generation who don’t define ourselves by numerical age. 

Today's 50-somethings are a vibrant and confident bunch - they defy menopausal stereotypes and adhere to the concept of Middle Youth rather than Middle Age. There is a blurring of boundaries between generations, that sees mother and daughters wearing the same clothes (aka age fluid dressing), listening to the same music and borrowing each other’s make up. Older women are shopping younger, staying active and presenting themselves as examples of what digital entrepreneur, Gina Pell, has christened, “Perennials” - ever blooming people who stay abreast of technology and popular culture, with friends across all generations.
 
Inspiration to stay active is provided by a myriad of accomplished women who have recently turned 50, including Robin Wright, Tilda Swinton, Julia Roberts and Michelle Obama. By 50, women have faced myriad life challenges, been knocked down and gotten back up multiple times and gained the wisdom to know that down is not out. We have also dismissed inhibitions in favour of self-esteem, and decided we don’t tolerate bullshit. There is a renewed sense of urgency as we realise that life is not a rehearsal: we need to prioritise our time and energy to achieve remaining goals. It’s a case of do it now or die disappointed.  

Since the 1960s, Western culture has been in thrall to the allure of youth and beauty with older women notable by their absence from fashion, advertising and media. This is gradually changing as women of 50 plus are now featuring in advertising campaigns (Tilda Swinton for NARS), the leading roles in film and TV (Nicole Kidman in Big Little Lies and Lion) and executive roles in business (Dee Forbes at RTE).
 
 Increased life expectancy is informing more positive attitudes to middle age –  if Irish women of 50 today, can expect to live to 85, then 50 is still relatively young. TILDA, the Irish Longitudinal Study on Ageing being conducted by Trinity College is revealing new data about how Irish society is greying. Professor Rose Anne Kenny sees the study as contributing to making “ageing a better experience” for Irish people. The demographic changes that Irish society is facing in the next 30 years are unprecedented: by 2030, 1 in 5 people here will be over 65 and of the females born today, 50% are likely to live to 100 or beyond.  By then 50 will be positively youthful.  Her advice is “Exercise, exercise, exercise” as it “slows down the ageing process” and “reduces the likelihood of getting dementia”.  
 
Up to now Irish older people have been among the least healthy in Europe, so we need a “focused health policy on 50 plus” to ensure that longer life is accompanied by better quality of life. Professor Kenny also suggests that we need “an attitudinal change to ageing”, akin to the recent debate about gender, and that individuals need to take personal responsibility for their physical well-being as they age. 

Eva Berg, of the Secret Pilates studio, also maintains that exercise is vital for healthy ageing, with Pilates a “perfect form of exercise for women in their prime. Reformer Pilates helps you maintain a youthful slim figure with a tight defined waist, toned arms and a pert bottom. It keeps your everyday movement young and confident.”  Eva recently 50, claims that she felt “empowered turning 50” and asserts “I am more confident, opinionated, less fearful, quirkier and much wiser. I know myself now.”

50-something’s youthful attitude combined with more relaxed contemporary fashion, means there is little difference now between how a woman dresses at 30 and 50. Juliet Ledwidge of JUJU boutique, is ideally placed to observe how women navigate their 50s: “I would consider that women in their 50s are now younger, fitter and more vibrant than ever before. I know many beautiful and stylish 50-something women who have embraced their age with confidence and most importantly vitality. Beauty as we know comes from within and feeling comfortable in how you dress can help greatly. I would suggest investing in classic items and mixing them with key seasonal pieces. Collating a timeless elegant wardrobe is essential such as a great dress from Joseph, a tailored jacket from Theory, a silk blouse from Vince and great fitting jeans (our favourite are Citizens of Humanity). The simplest items are often the best, a classic cashmere or oversized white shirt.  Age does not have to define you. At the end of the day it’s only a number!

Despite advances in attitudes to ageing, women in the 50 plus demographic can still feel ill-represented in advertising. No intelligent woman wants to buy an anti-wrinkle cream endorsed by a dewy twenty-something. Twenty years ago, Isabella Rossellini, was fired as the face of Lancome in her 40s, whereas today Julia Roberts is their brand ambassador at 50. Encouragingly, Lancome have just brought Rossellini back on board in her 60s as the face of Lancôme Renergie Rosy Glow while here, beauty writer Laura Bermingham, was recently made a spokesperson for Olay, while stores such as Arnotts are featuring mature models like Olivia Tracey in their fashion shows.  Internationally, older female faces are now celebrated and grey hair considered stylish, with fashion stars like Lyn Slater (65), Linda Rodin (67), Inès de La Fressange (60) and Alyson Walsh (54) exploring their experiences of positive ageing while remaining defiantly stylish.  

Women over 50 do not yearn to be 25 again -  but they do want to stay looking and feeling their very best, for as long as possible. They want portrayals in media that show them as independent, intelligent and resourceful. The want information and advice that is pertinent to them and not relentless features about Botox and re-capturing their lost youth.
 
Advice that I would offer personally? Skillful use of make-up and a great haircut can erase a decade and help combat a paler complexion and lighter hair. Embracing colour is vitally important: it is life affirming and adds radiance to boost confidence and visibility. Stay active and focus on posture, try new experiences outside your comfort zone, have regular check-ups (smears and breast tests), watch your oral health, drink less alcohol, limit sugar, eat lots of Omega 3 fats, nourish your skin (always wear sunscreen), maintain your sexual spark and count your blessings.    
 
 We cannot micro-manage all the biological and environmental components that shape our ageing process but we can help to determine our later life by adapting good habits. Getting older is a privilege. It is vital to stay curious and creative, to remain defiantly fabulous and reject the tired stereotypes.  In that vein, we can embrace the sentiments of Susan Sarandon (70): “When you are younger, you want to be perfect, but later you learn that perfect isn’t really that interesting.”

 
“Mere colour can speak to the soul in a thousand different ways.”
Oscar Wilde
 
The scent of Spring in the air has spurred on an untypical desire for colour in my wardrobe. As a fan of the classic masculine palette of typically neutral shades such as grey, navy, charcoal, camel, chocolate and black, this leaning towards brighter colours has been creeping up on me gradually. It might be the quality of our February daylight, the sense that I am jaded with dark shades after 4 months of a sombre winter palette, or maybe it is down to the feeling that my pale winter complexion is in need of a serious boost, but I am craving colour. The current exhibition at the National Gallery of Ireland: Emile Nolde – Colour is Life is also inspiring me with its vibrant, colour palette and vivid saturated hues. This expressionist artist painted with such energetic gusto that his paintings seem to pulsate with life. Golden yellows and deep reds appear frequently in his work, giving a luminous quality to otherwise sombre tones.
 
My appetite for colour is reflected in the general fashion trends for Spring/Summer 2018, with Pantone predicting a palette of 12 singular shades for the season encompassing colours with evocative names like Palace Blue, Nile Green, Meadowlark, Ultra Violet, Rapture Rose and Lime Punch. This trend for bright colour may be interpreted as a reaction to a grim political climate which encompasses Brexit, the refugee crisis, Trump and a general air of anxiety and unease about rising homelessness, a compromised health service and upwards interest rates. Fashion has decided that the antidote to this gloom is a vivid injection of colour and while this may be a simplistic solution to some, colour has a profound impact on our emotions. There is also a desire for experimentation in the ether – with gender stereotypes breaking down and a growing desire for self-expression among consumers rebelling against homogenous trends, colour is proving a political weather-vane. Think of the pink pussy hats of women protesting Trump, the black dress code observed on the red carpet at the Golden Globes and the BAFTAs and the use of the LGBTQ+ rainbow in Christopher Baileys’ last Burberry show.  Prada’s recent A/W 2018 fashion show in Milan also featured dazzling defiant fluorescent colours, cited by Miucca Prada as an expression of freedom: “I imagined that a woman could go out looking super sexy in the street at night without being bothered. It’s about the freedom of women to go out in the night.”
    
Colour speaks a powerful language that transcends mere words. It can convey political, social, sexual and economic messages in an instant. Historically we can see the importance of colour in defining social status (purple was once reserved exclusively for nobility and royalty), political aspirations (the Suffragettes wore white) and sexual status (the famous red dress worn by Scarlett O’Hara in GWTW branded her definitively as a wicked woman). It was Coco Chanel who transformed black from the colour of mourning to a fashionable staple, and while she endorsed a monochromatic palette for most of her career, black as we mature can be ageing and draining.

What I have noticed increasingly as my own face alters with age is the profound lifting impact that colour can have on my complexion and appearance. While I am not a fan necessarily of the rigid rules of colour analysis, I do believe that we need to review our taste in colours as we experience mid-life. I often hear women complain of their growing “invisibility” as they navigate middle age but perhaps this is not helped if you choose to live only in bland beige or subdued neutrals. If your wardrobe, hair and skin tone all adhere to the same palette, then you can fade away into visual oblivion. Announcing your presence with a splash of bold colour is one definite way to confront this invisibility and ensure that you register with people. It can take courage to wear colour confidently but becomes easier with each dip into a brighter palette. Beige can be very habit forming and while subtle tones are easy to match and wear, they can also become a way of blending in instead of standing out.
 
Choosing colour is synonymous with the Buddhist tenet to “Choose Life”. Once you are wearing colour more regularly, you begin to appreciate the impact it has on your mood, and on the responses of people that you encounter. People engage with colour, they are drawn to it and will comment on it enthusiastically. In a social situation, it will not only get you noticed but can also be an effective ice breaker. I am not advocating wearing colour head to toe – this is not for everyone, but using colour to lift and add zest to your existing wardrobe. If like me you have a wardrobe of neutrals, then look at the amazing colour combinations that you can create with the addition of some new colourful purchases. Experiment with red and navy, turquoise and navy or burnt orange and navy. Consider burgundy and camel, red and camel or orange and camel. What about pink and grey, lilac and grey or aqua and grey? I find it is easier to keep colour to tops, knitwear, scarves and accessories or even a manicure, and work these against your trustworthy classic basics. That way you get to continue wearing the pieces that you love and have invested in while also adding variety to your wardrobe. This strategy of adding pops of colour is life affirming, mood boosting and allows you to introduce colour in a way that doesn’t overwhelm.

Judging which colours work for you can initially be difficult. After all, the spectrum of shades is wide and if you haven’t been wearing any colour, making the decision to invest in colourful clothes and accessories feels unknown, even frightening. If you feel totally defeated by the prospect, then you can book an appointment for colour analysis with a professional, but even on your own you can start by being braver and trying on colours when you shop.  Hold colours up against your face and observe how different shades affect your eyes, skin tone and overall appearance. With practice, you will start to notice how certain colours lift you and make you look fresher while others, drain you, emphasise under-eye shadows and make you look tired. Take note of the colours that enliven you and see if they have warm or cool undertones. Warmer skin with a yellow undertone is flattered by golden shades of yellow, red, orange and deep turquoise while cooler skin with a blue undertone favours hot pink, ruby red, navy and cobalt blue. Turquoise is apparently the most universally flattering shade so if in doubt it is a good colour to try first.  
 
 With perseverance, you will gradually educate yourself about what suits you. Generally, neon yellows, acid greens and mustard tones can be hard on fair Irish complexions so exhibit caution when attracted to items in these shades.  Choose to enhance your skin-tone rather than fretting about lines and wrinkles: good colour choices bring vitality to your face, brighten your eyes and magically lift your complexion better than any "miracle" cream.  Also remember Christian Dior’s observation that “Two colours in any outfit are quite enough”. It takes a skilled eye to combine colour and pattern, so limit your palette and you will be less likely to tip over into clown territory.
 
Be mindful of what our choice of colours conveys to others: if you constantly dress in black, what are you saying about your state of mind and sense of self-belief? Yes, it can be slimming, chic and versatile but it can also become an unimaginative uniform into which we disappear. On the other hand, someone who adapts colour and adorns themselves with optimistic yellow, calm blue or radiant red delivers an utterly different message about themselves. Whichever colour you choose, remember that it will not only elevate your appearance but also your mood and self-confidence. By re-claiming your visibility, you are stating your right to be acknowledged and valued as a relevant person. It doesn’t matter what the colour is, as long as it makes you look fabulous.
 
 As the wise Chanel observed: “The best colour in the world is the one that looks good on you.”

Now that Spring has finally sprung, many of us feel re-energised and ready to tackle some literal and emotional Spring Cleaning. As per my last post on How To be A Thoughtful Consumer, I am going to advise now about the art of Wardrobe Weeding. Most of us just have too many clothes – the result of over consumption, emotional constipation and an inability to edit our wardrobes. The driving force in contemporary culture it towards constant acquisition and basing our sense of self-worth on our possessions. So, as the years go by, we accumulate more and more clothes while frequently failing to review or cull the fashion history of our own lives. As women, we are increasingly juggling work, family and home, so the temptation is to ignore the problem until it reaches crisis proportions.  
 
The result is that we hit a wall and literally cannot distinguish the wood from the trees.  We begin to feel defeated by the bulging wardrobes, chest of drawers and sometimes even rooms that contain our clothes and sink into a sartorial depression. The confusion and chaos of an overstuffed and dis-organised wardrobe is bad for our mental clarity, our sense of style and our emotional well-being. Carrying around the accumulated spoils of decades of shopping can be bad for your health as well as being detrimental to your quality of life and peace of mind. Clutter is bad for us yet we can feel overwhelmed by it and powerless to tackle the sheer volume of stuff we own.
 
 One of the most popular books about tidying in recent years has been Marie Kondo’s The Life Changing Magic of Tidying Up. Her method is focused and insistent on keeping only those items that spark joy in our souls. Starkly simple but highly effective. When this method is applied to our wardrobes, the effect can be not only liberating but life-changing.   By adapting a calm motivated approach, it is possible to winnow out those items we no longer wear, want or need, to leave instead a carefully selected range of clothes that suit us, make us feel confident and give us pleasure each time we wear them. In advance it is worth preparing for the purge mentally:  prepare to “LET IT GO”. We have become so indoctrinated by the notion that we are our possessions, that it can be painful to distinguish what we would be without them. We generate a false sense of security by accumulating a stockpile of stuff that ironically ends up leaching our energy.

Preparation is key: start by allocating time for the process of weeding out your wardrobe and closets. If you have a serious stash of clothes, break the job down over a couple of days. Clear the house of family, as this gives you the space and focus to really concentrate. Arm yourself with bin bags, cardboard boxes, a selection of good hangers and storage containers in advance. Get a full-length mirror, a free-standing hanging rail and if possible an honest friend or sister who will give you objective advice. Take a deep breath and start:

• First Analyse your wardrobe and which items you wear the most. Look at why you gravitate to those items and the features that you like about them. Then pull out your five favourite garments across various types e.g. – trousers, dresses, jackets, tops etc. Keep these as a reference for the template you want to adhere to and functionality you aspire to in everything you keep.
• Make different piles for your cull: charity shop, throwing out, gifts for friends/family, repair and re-modelling. Place all the items you are keeping on the hanging rail as you work though the wardrobe.
  
• Discard any wire hangers or broken ones. Invest in good quality wood, velvet, and/or moulded plastic/rubber hangers and transfer garments to them as you work through the wardrobe. Hang all your garments facing the same way and give each item their own individual hanger. Double hanging garments means you don’t see items clearly and for pieces like jackets, destroys their shoulder-line and sleeves. Use clip hangers for trousers and skirts, rather than folding them over a hanger.
  
•  Look at which body parts your favourite garments emphasise? Which features do they conceal or minimise? Also look at the items you never wear. Evaluating your mistakes can be just as beneficial as identifying favourites.  Analyse why they haven’t worked for you – do they match other pieces in your wardrobe, do they require lots of maintenance or are they simply too old/frumpy or too young/ revealing?  Get rid of items you don’t wear. If it has been over a year since it was on your body, try it on again and re-assess it. If you haven’t worn the piece in 2 years, just let it go.
• Review the quality of your clothes – do they look cheap and shabby or smart and polished? Are they fit for purpose? Start taking out those items which are very shabby or damaged. Review and if they are beyond redemption, put them in the throw out/fabric recycling pile. Take note of pieces that might need to be replaced or refreshed on future shopping trips. If you still really like an item and it can be repaired or re-modelled, bring it to a good alterations service.
  
• If an item makes you feel self-conscious about a part of your body or is unflattering for your shape – relinquish it. Clothes should give you confidence not undermine you. Never keep items that you will diet into “someday” – live for now not the never, never
• Versatility is the key to a functional wardrobe – place those items that you get maximum wear out of toward the front and middle of your wardrobe.  Place the items you wear the least e.g. special occasion towards the back.
  
• Sort items by colour and type: i.e. hang similar shades and tones together. Also group the same types of items – jackets, trousers, dresses side by side. This will help you to see if you are overbuying certain pieces.  
  
•  Don’t have a rainbow wardrobe – try to keep to a core palette of core colours and
  
• co-ordinating tones so that pieces work in sympathy with each other and give the greatest opportunity for multiple permutations.
  
• Put seasonal pieces away when it comes to the end of their season –  e.g. pack heavy coats and knitwear away in spring/early summer. To make room, put these items away in spare rooms, trunks or wherever you have extra space but be careful of storing clothes in damp places such as basements. Ensure that when pieces are being stored away they are clean and laundered.
  
• If you cannot decide about an item try it on and photograph it on yourself, then review all these pieces at the very end. It is amazing what a photo can reveal that you don’t necessarily see facing a mirror. Get your accomplice to photo you from the back as well if you think a piece is too small or too large – we aren’t 2 dimensional, and sometimes forget about the rear view.  
  
• For items that are to be folded such as knitwear, t shirts and jeans – instead of folding them flat try to fold them as per Marie Kondo method rolled/folded upright so that you can see everything you have at a glance.   
  
• For shoes – either use a shoe rack or keep your shoes in their original boxes stacked on shelves, with photos/descriptions of the shoes on the outside. Don’t archive shoes for posterity: like your clothes relinquish those you haven’t worn in a couple of years. Don’t keep masses of stilettos if you now never wear them and live in flats. Always ensure that you air shoes and they are totally dry and clean before boxing.
  
• Sort through your socks and smalls – store them sorted by colour and stacked neatly vertically. Chuck out any underwear that is saggy, sad or ill fitting.
• Store handbags in their original dust bags away from direct sunlight, preferably on a shelf unit.
• Store scarves in drawers rolled rather than folded, again sort by colour and season.
  
• Keep accessories such as belts, sunglasses and gloves in dedicated drawers to make them easy to locate.  Keep fine jewellery in individual pouches and boxes to avoid scratching and tangling.
  

 
Once you have gone though all your wardrobe and allocated pieces to their piles, act swiftly and dispose of items you are discarding. This will avoid you developing remorse for the items and starting to re-integrate them into your now beautifully organised and streamlined wardrobe. Promise yourself that you won’t revert to the clutter habit and in a short time you will see the benefits that your calm, de-cluttered closet will bring to your life:

• You will feel lighter, clearer and more focused.
•  You will save yourself time and stress every morning when you are dressing
• By only keeping pieces that you love and wear, you will feel more confident in all your clothes
  
• Your perspective on buying clothes will change and you will be more focused and effective when you shop.
  
• You will be able to evaluate what you need versus what you don’t and won’t be distracted by superfluous splurges.
  
• Your mind set will feel happier and calmer – order not chaos will be the start to your day and this will set the tone for your mood throughout the day.
  

• By making choices, you will feel energised and able to channel your energy flow in a positive way.
  

  
Being able to exercise choice and choose those items that create a positive emotion in us is an immense privilege, and once we take ownership of it, we can feel stronger in other spheres of our lives too. Clarity of thought leads to purposeful choices and that is beneficial not only to our wardrobes but also to our daily lives and interactions.  

In the post-Christmas atmosphere of lifestyle purges and a general desire to re-assert balance after the bacchanalia of December I began to think about what constant consumption is doing to our planet, not to mention our psyches and our wardrobes. The truth is that we all own too much stuff. We have been groomed to exist in a perpetual state of acquisition and spend too much time trying to fill an internal void  with thoughtless, scatter-gun shopping. The desire for more and more possessions is punishing our planet and our pockets, yet breaking the addictive cycle of shopping highs and credit card lows that characterise this pattern is painful.  Teaching yourself to become a thoughtful consumer is not easy – ingrained habits die hard and relinquishing behaviour that plays havoc with our dopamine levels requires determination.
 
On the plus side, the carnage of a January credit card statement can  incentivise us to adopt a more focused way of shopping . The biggest myth of modern life is that consumption will bring us contentment: instead it lures us into a state of dissatisfaction that seems to spiral the more we buy. This piece is going to examine how to consume less, consume better and make your purchases work for your lifestyle and budget.    
 
We can now shop 24/7 wherever and whenever we want. We shop when we are happy, when we are sad, when we are bored and even when we are hungry.  Now when we feel the slightest trace of anxiety or dissatisfaction, instead of choosing a mood altering activity such as exercise, music or meditation we start scrolling our phones and log on, for what we refer to as retail therapy. Shopping is not therapy – it is a commercial activity and while I enjoy it, I don’t deceive myself that it is going to give me any long-lasting psychological benefit. Constant calls to action on sites suggesting that we are getting special discounts, sale previews and wardrobe must-haves all add to the sense of urgency that we must spend or lose out. Reflecting and rationalising on whether you need that 20th LBD or pair of denims seems dull when you are being urged to “Buy Now” in bold flashing font. So, most of us cast caution to the wind and succumb.  
 
Before online shopping and multiple collection seasons, we adopted a more organised approach to fashion. We went to look at clothes in actual shops, tried them on, went away and thought about the item and after a 2nd or 3rd visit committed to a purchase.   Now because of constantly arriving merchandise and the resulting all year round sales we feel spurred on to buy without evaluating if we need, like or want what we are buying. The constant availability of new stuff sends our latent Hunter Gatherer instincts into overdrive and soon we are the owners of bulging wardrobes but conversely “Nothing to wear”.     
 
One of the problems with the fecundity of fashion now, is that is lures us into buying clothes that don’t suit. Buying for your actual lifestyle (work, school runs, weekends) is much more beneficial than shopping for dreamed about  trips to the South of France or the Oscars so why in the sales do we purchase ridiculous kaftans, satin jumpsuits and tottering heels? Because fashion sells us a fantasy and we all love to dream, we can quickly lose the ability to rationalise our purchases and fall prey to slashed prices and suggestive selling. Want versus need could be the subject of a doctoral thesis in the context of fashion, and while we don’t have to need every single item we buy, we should be building our wardrobe of about 80% functional, classic basics and 20% seasonal trends to add variety and newness. Unfortunately the reverse is often the reality with many women wearing 20% of their wardrobe 80% of the time.                  
 
If catatonic consumption is akin to self-harm then what are the practical steps to quell the urge to splurge mindlessly? A series of suggestions I recommend include:

• Know your signature style – as I have written previously on this blog the advantages of adapting a signature style or personal uniform are multiple - it saves you time, money and unnecessary stress. By defining your own style template, you streamline your life and make your wardrobe your ally rather than your enemy.” If you are assured in your style, then you are less likely to be tempted by frivolous non-you items and will have a personal style plan when shopping.
• Avoid temptation if your willpower is weak – learning to delay gratification is challenging but like a muscle, willpower can be developed with repeated use. The more you develop the habit of exercising your critical faculties to reject mindless consumption, the easier it will become. If in doubt leave an item – don’t buy just because it is reduced, it is payday or because you had a shit day at work. If you don’t have the money, then don’t try the item on – you are twice as likely to buy once it has been on your back. Learn to separate misplaced urges to shop from the emotions and behaviour patterns that drive them. If feeling particularly vulnerable –  go for a walk, read a book or listen to music. There are many other mood-enhancing activities that can trump shopping, that don’t carry the financial sting.
• Unsubscribe from all those fashion websites that send mail shots to your in-box to constantly tempt you – it means less junk in your account and a clearer head too.
•  Be clear about what you need and want from your wardrobe – see the 80/20 ratio versus Basics and Trends as above. Shop for the life you have and not the life you fantasise about – there is no point having a wardrobe for the French Riviera if you live in damp old Dublin.  Also, be mindful of your budget and what you can afford to spend on clothes – if you have a COS budget then you cannot shop in Celine, no matter how much those beautiful minimal styles appeal to your stealth luxe leanings. A spend of 5% to 10% of your take home pay is the most you should allocate for your clothes. Stick to a palette of neutrals for core pieces and introduce colour through accessories, knitwear and manicures.
• It may be a cliché, but buy the best quality you can afford – cheap clothes are a false economy, while buying quality items in good fabrics will deliver the greatest value. I have clothes that are over a decade old that I still wear and which still look good, because they were made with care and attention to detail. Once you have invested in quality, ensure its longevity by giving your clothes adequate TLC – clean, mend and maintain garments regularly and they will last.          
• Shop your own wardrobe – take everything out of your wardrobe and try it on again. You may be surprised, particularly if your closet is jammed full-to-capacity. Too much in your wardrobe can prevent you from appreciating the contents, so schedule a twice-yearly cull or wardrobe weed to sort out everything. (I will write on Wardrobe Weeding Strategy in my next post).  Experiment with new combinations of garments you already own and you will discover the potential of your existing wardrobe – this knowledge will also allow you to shop more successfully in the future as you will carry a visual recall of your wardrobe contents.
  

• Carry a list with you of items you need to replace – this will focus your mind and help to avoid costly delusional purchases. Prioritise staples even in the sales and you will get maximum return for your money.

• Research your shopping before you spend – ensure that you are getting the best value by checking across a number of websites, if shopping online, and check the returns/exchange policy if shopping in a bricks and mortar store.
• Never be led by price alone, regrets are generally the result – don’t buy an item purely because it is 70% off, if it doesn’t suit you or your life. Don’t be influenced by the fact that some celebrity wore the piece if it looks ridiculous on you – the celebrity was probably gifted it or had it on loan and didn’t have to worry about her cost-per-wear ratio.
  
• Ask yourself it the item honestly fits and flatters you  - don’t listen to friends, family and sales-people but trust your own gut instinct. Usually we know innately if a garment suits or not. Never be tempted to buy a piece that you will “slim into” as this is a waste of money and you will regret it bitterly, when it is hanging unworn in your wardrobe. Similarly be cautious of buying items that are too large that you plan to have sized down. Altering a garment to take it down a size is often complicated and labour-intensive and therefore expensive. It also takes a skilled alterations person to accomplish this and sometimes you can end up with a butchered garment, if done inexpertly. Also be cautious about buying damaged goods unless it is a minor fault such as hem down or a ripped seam, which are relatively easy to repair. If you buy a reduced  “ Sold As Seen” item  then the retailer may refuse to exchange it  for you later.      
  
•  Finally, only buy clothes you truly love and that will make your life easier every day. Develop restraint and shopping will become a treat again instead of a thoughtless distraction.  Also your head will be clearer, your wardrobe less cluttered and your credit card more solvent.
  

As economic recovery continues and recession recedes from memory, the rehabilitation of designer handbags has been advancing. During the boom designer bags were a brash badge of affluence and easy credit and the It Bag became emblematic of excess and conspicuous consumption. Sported by women across all ages and social backgrounds, It Bags became an obsessive competitive sport with every season bringing a new “must have” version with multiple chains, buckles and logos.  It was thought that expensive designer bags were tarnished by these associations, but now it seems that predictions of their demise were premature. 

In the UK the handbag market is worth in excess of £1 billion annually, while the global handbag market peaked just shy of $60 Billion in 2017.  Despite this, sales of designer bags are not guaranteed, as they were in the boom. As Tamara Sender, Senior Fashion Analyst has observed: “Retailers and designer brands need to adjust to a new reality where handbags are no longer a sure-fire revenue generator. However, focusing on newness, unique designs and customisable bags provides a way to encourage higher levels of purchasing.” 

So, while women may be slower to invest in expensive bags, they are still purchasing, particularly the luxury titans such as Chanel, Louis Vuitton, Gucci and Hermès. At its most extreme, the female fetish for bags has led to Japanese girls working as prostitutes to indulge their passion for luxury brands and to many other women maxing out credit cards for the pleasure of sporting a famous logo. Even the terrifying Mrs. Thatcher was a firm believer in a good bag and was responsible for the term “handbagging” entering the political lexicon. Mrs. Thatcher’s sartorial armour of stiff tailoring and even stiffer hair was completed by her traditional Asprey handbag, her firm grip on same being symbolic of her hold on power and Government.  

So why the obsession with handbags? 

Handbags strike a particularly emotive chord with women – not only are they a sort of home on your arm they also display your personal taste, level of affluence and even who you aspire to be. A handbag semaphores your style personality more accurately than any other element of your wardrobe. A classic luxury lover may wear Chanel, her bohemian sister Marni and a discrete lover of understated quality, Hermès. Even women who aren’t particularly interested in the vagaries of fashion will frequently be seen with a statement designer bag. In short bags don’t just contain our mundane stuff they also possess the ability to make women feel exquisitely happy. 

Upon closer examination, the designer bag market appears to have consolidated at two ends of the spectrum – at one, brands such as Michael Kors who have saturated the mid-section of the market and at the other the super exclusive luxury brands such as Hermès who rigorously limit product to establish their credentials as purveyors of the most desirable bags. The increasing presence of stealth luxury brands such as Céline, Valextra and Bottega Veneta has also heralded the emergence of a new handbag customer – one who is willing to invest thousands in a bag that they believe will last them a lifetime.  

 The zenith of  investment bag acquisition, was the sale in 2016 in Hong Kong, of a pre-loved Hermès Birkin matte Himalayan bag with white gold fittings and almost 10 carats of diamonds for in excess of $300,000 at Christies auction house.  Christies has been including handbags in their sales since 2000, with twice yearly handbag sales in Hong Kong now established due to a growing demand for elusive styles, particularly Hermès Birkin and Kelly bags. As one collector, Emily Chan, who has more than 50 bags stated: “Birkins are like currency : you can cash them out at any time.” Hermès Birkins have climbed in value by 500% in the past 35 years and are projected to double in value in the next decade so exceed art, gold or even property as an investment.

 In Ireland the re-sale luxury bag retailer, Brand Connection (a Dublin and Paris based, online business that sells pre-owned designer handbags) holds regular sales events as well as retailing online. Their success suggests that the Irish are recovering their taste for luxury bags: items that have featured in Brand Connection’s  sales have included  an Hermès Kelly in Rose Crocodile  for €49,000,  an Hermès Kelly in Celadon Himalaya for €59,000, and an Hermès Birkin 30 in Orange Epsom for €10,680 as well a selection of bags from Chanel, Cartier and Louis Vuitton. In Dublin city centre,  Brown Thomas boasts a luxurious and recently expanded bag department along with concessions from Chanel, Hermès and Louis Vuitton while around the corner, Siopella Designer Exchange also does a very brisk business in all the major designer bag brands. They are extremely vigilant about the issue of authenticity and all stock is verified by Ella de Guzman, their Head Authenticator. With such high retail value, counterfeiting is a major issue across the luxury goods sector, particularly with designer bags.  

Bags that inhabit the most elevated echelons of desirability (as investment bags) are the Chanel 2.55, the Louis Vuitton Speedy, the Jackie O Hobo from Gucci and the Hermès Birkin and Kelly.  In truth, handbags are the financial foundation of the luxury goods industry, representing approximately 30% of total sales.  For the industry they sell more easily than clothes, enjoy extremely high full-priced sell-through rates and are easier to develop than perfumes. For the customer, they endure beyond single season trends, never need to be sized or tried on and give satisfying returns on a cost per wear basis. 

Handbags first achieved popularity with women in the early 20th century. In the first decades of the century the Suffragettes had agitated for the female franchise and after WW1 when this materialised, women became increasingly financially independent as they participated in the workforce and opened their own bank accounts. A bag was a very visible symbol of this new liberated status.  As the twenties heralded the arrival of  flapper fashion, whose slim silhouette necessitated a bag, handbags became established as a new fashion accessory. Cigarettes, lipsticks, powders and car keys signified the lifestyle of the new modern woman and a bag was essential to carry all these totems of emancipation. Pockets never had the same allure again. 

Once the female obsession with handbags was born, the luxury goods industry was quick to capitalise. Bags now form the centre-piece of most luxury goods brands –  the clothes are the window dressing for the industry but it is the accessories, cosmetics and perfumes that deliver the highest profitability. The profit margins associated with designer bags are astounding – generally priced between 10 to 12 times the manufacturing cost, Louis Vuitton even manage to sell their bags at 13 times the cost price. It is easy to see therefore why an It Bag can have such a profound impact on the financial fortunes of a company. 

As the decades of the 20th century progressed many of the major luxury brands established their signature style motifs – In the 1930s, Robert Dumas of Hermès designed a handbag with a purist aesthetic that from 1956 on became known as the Kelly (when Grace Kelly shielded herself from the paparazzi with one),  in 1947 Gucci put the first bamboo handle on a bag (a cheap material in post-war Europe) and in 1955 Chanel produced its first quilted 2.55 bag. While many women’s accessories such as hats and gloves disappeared in the disruptive 1960s, the bag endured and the 1980s saw the revival of designer bags led by Chanel’s relaunched 2.55 under the creative direction of Karl Lagerfeld.

In the 1990s Prada ushered in the democratisation of luxury with the success of its nylon backpack. Here was a cool, minimal, modern bag for a design conscious generation that appealed to the middle market. The success of the backpack generated huge revenues for Prada and made the then unknown company a major fashion name. Later that decade, the Fendi baguette bag transformed Fendi from a fusty Italian furrier into a major luxury brand, selling over 100,000 units in its first year. As the ‘90s progressed and the noughties dawned, logo mania peaked with emblems such as Chanel’s interlocked Cs, Gucci’s linked Gs and the Louis Vuitton monogram resplendent on bags of all shapes and sizes. Bling and bad design resulted in some truly ugly bags until eventually the crash of 2008 seemed to herald the end of the It Bag phenomenon.   

After the financial carnage of the late noughties, conspicuous consumption seemed  tasteless and those who still had the means to indulge their penchant for luxury did so in a new way – stealth wealth emerged as the biggest trend of the 2010s. Logos that were ubiquitous had lost their cachet and  were replaced with identifying designer details that flew below the radar such as Bottega Veneta’s woven intrecciato leather or the Hermes’ lock and key closing. Suddenly the appetite was for items that were not mass produced and instead emphasised craftsmanship, creativity and exclusivity. As Lucia van der Post observed in the New Statesman: “Stealth wealth is not about spending less but the power and the swagger are subtler. It’s not a diminution of luxury or quality, merely a recognition of where it truly resides.”   

Hermès are considered the Rolls Royce luxury handbag label and their bags have graced the arms of royalty, celebrities and the super-rich for decades.  They are the antithesis of the It Bag – the house designs are established classics, the bags are all finished by hand, there are no ostentatious logos – everything about them carries a refined aura and they are the ultimate symbol of discreet wealth and success.  All Hermès bags are made in house by company artisans, and it is rumoured that any which fail their rigorous quality control standards are destroyed. This contrasts with many of the other luxury brands who have gradually moved manufacturing offshore to China and whose standards have diminished as a result. The Made in China labels on these expensive goods are often so well hidden that the client has no idea that their purchase has originated in a PRC factory and not an artisan atelier in Italy or France.  

For those who cannot afford to invest in a Birkin or a Kelly nor want the obvious branding of Michael Kors, the good news is that smaller discreet bags have increasingly usurped flashy brands in recent seasons. Brand fatigue with the ubiquity of major labels has led to the rise of alternatives including Mansur Gavriel’s plain but luxurious bucket bag, Everlane’s chic Porfolio bag whose sleek appearance belies its relatively modest price tag and new brand, Wandler which has an elegant distinctive aesthetic combined with a made in Italy pedigree. 

Whichever way the handbag market evolves into the future, one fact which is certain is that women will continue to covet them, brands will make large profits from them and we still won’t be able to contain our joy when we get a new one.  And if you feel guilty about indulging your bag fetish, remember a good bag can sometimes outlast a bad relationship. 

​I have always loved knitwear – show me an Irish woman who doesn’t. When you live in a climate as unpredictable as ours, knitwear is a wardrobe constant, regardless of season. Living in Ireland, you can always expect the unexpected, meteorologically speaking, so a trusty sweater or cardigan is essential. In Autumn, as temperatures drop and the dark encroaches, a cosy knit is like an embryonic second skin. The inclusion this October of an Irish Aran sweater, in the MoMA exhibition "Is Fashion Modern?", based around 111 items that have been elevated from fashionable to enduring elements of people's wardrobes, illustrates not only the reputation of Irish knitwear but also the longevity of a good knit.  The Aran in question is on loan from the National Museum of Ireland and dates from 1942 and while I don’t have an item of equal age in my possession, one of my favourite knits is a John Rocha sweater with cable stitches that it now almost 30 years old. 

Aran sweaters are emblematic of a simpler time in Irish life, when clothes were craft -oriented and hand-made domestically rather than mass manufactured in off shore locations. Images of rugged fisherman in their traditional oatmeal or off-white cable knits have inspired thousands of American tourists to invest in an Aran on an Irish vacation but the heritage of the garment is shrouded in myths and not a little creative storytelling. 

Contrary to common folklore that Aran sweaters contained special stitches to identify the wearer's family, Islanders never incorporated unique clan stitches into sweaters. The notion seems to have been adapted by canny marketers, from J M Synge's Riders To The Sea, where a woman recognises her drowned brother by the four dropped stitches in his knitted socks. However, the story has now been repeated so often that it has entered common culture as fact.  According to these stories, the blackberry stitch represents nature, the honeycomb, is a lucky stitch, symbolising plenty, the lattice stitch is inspired by wicker baskets and the ladder of life stitch symbolises the stages of life. 

Not only is there no evidence that our ancestors knitted special 'clan stitches', the Aran sweaters' tradition is relatively new. If it has been handed down the generations, it has been only two or three generations because, 100 years ago, it is unlikely you would have encountered Islanders wearing what we recognise as Aran sweaters. In the 1890s, knitting was being encouraged on the islands by the Congested Districts Board. This body had been established to encourage economic growth in rural areas where the population had outgrown the productive capacity of the land. Fishermen from other parts of the British Isles, who travelled to the Aran islands to instruct on better fishing methods, were accompanied by their wives. The Guernsey jumpers worn by these men were the inspiration for our Aran sweaters – the islanders copied them from the British women, but with their typical decorative stitching all over and in heavier coarser Irish yarns that were unscoured and therefore water resistant. The Irish word Geansai, is a bastardisation of Guernsey, the name given to the English fishermen’s knits.    

Uncorroborated accounts suggest that early Aran sweaters were first worn by boys taking their First Holy Communion in the 1920s. Others suggest men's sweaters were knitted by young women for their sweethearts as evidence of their suitability as future wives. It was to be some years before decorative Aran knitting patterns became the symbol of the islands. When the film Man of Aran drew the world's attention to the islands in 1934, Irish knitwear of this style was not featured at all.

 However, by 1935 the first Aran sweaters went on sale in The Country Shop in Dublin. The store had been founded by Dr Muriel Gahan, the founder of the Irish Homespun Society and a committed supporter of rural crafts.  One of the first marketing brochures created by to promote the knits, was designed and illustrated by Irish artist, Sean Keating.  In the 1940s the first Aran knitting patterns were published by Patons of England, and demand (and exports) grew significantly after Vogue published patterns for men's and women's Aran sweaters in 1956. Companies began supplying the island with Irish wool, and gradually built up a network all over western Ireland of knitters producing a variety of Aran garments. Standun’s in Spiddal, was the first business to export Aran knits to the US employing up to 700 knitters across Ireland, while later Carraig Donn set up a shop selling hand-knitted Aran sweaters on Inishmore in the 1970s. The store remains a familiar landmark, although the Aran knitwear industry has developed beyond recognition in the last 50 years. 

Today Aran sweaters are made all over the world from mass produced versions in China which are sold on QVC, to luxury versions that have featured in designer collections from Ralph Lauren, Jean Paul Gaultier and John Rocha.  The great pity is, that the many of these garments are made outside Ireland as the number of knitwear companies manufacturing domestically has declined with the advent of new industries.  The machine knitted sweaters have less complex stitches, are executed in finer yarns and may be less enduring than the hand-crafted knits. 

The Aran sweater has inspired a great tradition of knitwear design in Ireland - now a new generation of companies such as, Tarlach de Blácam's Inis Meáin Knitting Company  (founded on the island in 1976 )  Fisherman out of Ireland and Ireland's Eye are giving the traditional knits a new twist, while designers such as Lainey Keogh, Sphere One, Lucy Nagle and Elaine Madigan continue to draw on the colours of the Irish landscape to evolve knitwear that is contemporary yet classic. It's a long way from Currach's to cashmere, but it is a leap that Irish knitwear companies have made skilfully while evolving knits from utilitarian outerwear to luxurious fashion items. As a fusion of the two strands of Irish knitwear, this season Inis Meáin have collaborated with Sphere One to produce a contemporary Aran knit or fisherman’s sweater for the modern luxury market. 

While we may perceive the Aran as a traditional item that has little fashion impact, to dismiss it  in this style is premature. Arans were seriously cool in the counter culture era of the 1960s: after the Clancys and Tommy Makem adopted the Aran as their onstage attire on the Ed Sullivan show, the jumpers developed a large fan base stateside. Many celebrities sported an Aran sweater inspired by the burgeoning folk movement, including Marilyn Monroe, Elvis, Steve McQueen, Jean Seberg, Grace Kelly and Catherine Deneuve.  In more contemporary times the knit has been worn by stars of both sexes including Brad Pitt, Ewan McGregor and Robert Pattinson, Gwyneth Paltrow, Sarah Jessica Parker and Alexa Chung. 

There is something about the romanticism, hand-crafted detail and slouchy luxurious warmth of a natural wool Aran that appeals across genders, age and style tribes. With up to 100,000 stitches in an Aran which represents a unique fusion of tradition and craft, Arans are perfectly placed to appeal to consumers seeking an emotional relationship with their clothes rather than the impermanence of fleeting fashion trends. 

Sometimes it takes accolades from abroad to make us appreciate the innate qualities of a local treasure. When an institution as revered as MoMA declares that a piece has “had a strong impact on the world in the 20th and 21st centuries—and continues to hold currency today”, we should acknowledge and applaud the rich heritage of Aran knitwear. Iconic is one of the most over-used terms in modern parlance, but it seems totally fitting for the Irish Aran. Recently JW Anderson, Alexander McQueen and Christopher Kane have all drawn on Aran heritage to revitalise the style - let’s hope that the MoMa exhibit will revive interest in the Aran tradition and lead to new incarnations by other designers into the future.  

​The Aran is both a style icon and a wardrobe staple and not many garments make that exclusive shortlist.  

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​Modesty is the highest elegance." Coco Chanel 

The allure of demure is one of the strongest trends in current fashion. After almost a decade of miniscule body-con bandage dresses and tottering heels, a new refined mood has been evolving gradually over the past couple of years. As hemlines have dropped and necklines have risen, garments such as midi skirts, dramatically sleeved blouses and covered up polo necks have become increasingly visible, even on younger women.  It may be a partial reaction to the physical and literal over exposure indulged in by social media “stars” such as the Kardashians or even a response to the current climate of political uncertainty and morally dubious leadership (when the President of a country endorses the Pussy Grab, choosing to defy that kind of misogyny through covering your body seems like a defiant statement), but its visibility is growing apace. 

This week’s revelations about the behavior of producer, Harvey Weinstein, and Donna Karan’s subsequent comments that appeared to pass judgement on how women dress in relation to sexual harassment, have all drawn attention to the issue of modesty in dress. The veteran designer was reported as stating: “Are you asking for it by presenting all the sensuality and all the sexuality?”  Her comments were met with outrage from most, including Megyn Kelly who replied:” The truth is sexual harassment has nothing to do with wardrobe. It has to do with power and control and sexual proclivities that a superior chooses not to rein in.” Victim shaming has too often been the knee-jerk reaction to sexual harassment or assault, and these sentiments from Karan, a woman who championed female empowerment during her long career are sad, shocking and misplaced. 

While rules and restrictions relating to modesty in female dress have been prevalent throughout history, modern Western women enjoy limitless freedom when it comes to self-expression through their dress. Both Jewish and Islamic culture have defined views on how women present themselves publicly – in Jewish culture the concept of Tzniut or discretion in appearance and behavior is reflected in Orthodox Judaism’s requirement that both men and women cover their bodies, with married women being required to also cover their hair.

Islamic culture, according to the Quran, admonishes women to dress modestly which finds expression in the hijab (a head covering worn most commonly in the West that covers the head and neck – but leaves the face uncovered), the niqab (a head covering and scarf that conceals the face, but leaves the eyes exposed) or the burka the form of Islamic dress that conceals the most, as it completely covers the wearer’s face with a mesh cloth covering their eyes. The wearing of the Islamic burka has been politicised after it has been banned in some Western countries as an affront to secular society. Multiculturalism and immigration are the source of  intense debate so Islamic dress codes have also been the focus of  scrutiny.  While this debate is argued many brands realising the importance of this market have worked to attract Muslim women with dedicated modest collections e.g Uniqlo’s collaboration with Hana Tajima. 

The popularity of collections aimed at women who want to dress modestly has also been expressed through events such as London’s first Modest Fashion Week in February and in the digital sphere, with the launch of The Modist, a fashion site “for the woman who dresses to express her style in a contemporary, feminine and modest way”.  Both developments illustrate that there is money to be made from modest style: Muslim spending on clothing globally is set to double from £174 billion in 2015 to £367 billion by 2019, according to a Reuters/Dinar Standard report. Most of The Modist’s business has come from the UAE particularly Dubai, followed by the USA and the UK.  Middle Eastern clients have traditionally always been important customers of Parisian Couture and mainstream European luxury brands so it was reflective of real life when Max Mara featured the hijab wearing model, Halima Aden in their fashion show. “Society puts so much pressure on girls to look a certain way” she has said. “I have much more to offer than my physical appearance, and a hijab protects me against, ‘You’re too skinny’, ‘You’re too thick’, ‘Look at her hips’, ‘Look at her thigh gap’. I don’t have to worry about that.“

Men and the patriarchy have attempted throughout time to control women’s morality through the imposition of restrictions on their dress. However, this current relationship with modesty is very different, in that women themselves are choosing to opt for a demure and covered up look. One striking champion of this discrete style is Victoria Beckham – she has morphed from wearing abbreviated body-con minis with amplified cleavage to adapting a wardrobe of crisp shirt collars, “Audreyesque” polos, and below the knee dresses with flowing silhouettes. Her entire wardrobe now consists of loose fluid styles that hint at her svelte figure rather than clinging lasciviously to it. Of course, all of us adapt and change as we age and our clothes reflect this, but Beckham’s style evolution is a very clear expression of the current fashion mood’s inspiration. Others who have evolved into modest fashion muses include Alexa Chung, the Duchess of Cambridge and Olivia Palermo.  

 There are many designers as well as Beckham, who are very happy to dress women who want to conceal more than they reveal, including Erdem, Emilia Wickstead, Simone Rocha, Palmer Harding, Phoebe Philo, Stella McCartney,  Raf Simons, Dries Van Noten and Tomas Maier at Bottega Veneta. All these designers, regardless of their distinctive design aesthetics, draw on a more cerebral approach to style – there is a romantic, bohemian, even demure aura about their clothes. There is also a gentle waft of nostalgia attached to their longer hemlines and  decorous style.  Here in Ireland, designer Peter O’Brien, who is just about to launch a collection with Dunnes, has long been a champion of elegant ladylike style that favours a flash of clavicle over cleavage.

The revival of feminism amongst a new younger generation has no doubt influenced attitudes to dress. The new modesty may carry political undertones – for those discovering the potency of female empowerment, the idea that your identity doesn’t depend on your body can be quickly and effectively semaphored in a more understated dress style. Maybe for millennials brought up on a diet of social media where appearance is all consuming, the revelation that being covered up gives the wearer more power and can be a positive choice is a large part of the trend’s appeal. 

The idea that your personality, character, and sense of self confidence are equally as attractive as a pair of long legs may be inspiring women to realise that you don’t have to expose all your physical attributes to be fashionable. Women are constantly judged on their appearance and if the movement towards more modest styles allows them some respite from this constant analysis and the competitive exhibitionism of social media, who cares if men are rather perplexed by the trend. Covering up is now increasingly perceived as cool while body con and bare flesh is looking increasingly jaded and tired. 

If all fashion is about nuance and subtle difference then the shift from over-exposure to modest dressing quite a profound change.  While women will always love fashion, and I am not suggesting that we all adapt monastic garb, it is apparent that women are increasingly dressing for comfort, confidence and a sense of self-celebration rather than the male gaze. Balzac said that “Modesty is the conscience of the body” and as someone who has always tended towards a slightly Amish aesthetic I am all for the less is more approach of modest dressing.  Women can now dress as they want – if they are choosing to conceal rather than reveal, then it is not only telling us something about their psyche but also about the wider state of modern society.  Fashion reflects our society back to us and while we may not have a definitive reason why modesty is newly fashionable, we can deduce that we are living in very interesting times.